ROTEL RSX-1057 - Manual (Page 40)

40 RSX-1057 Surround Sound Receiver
DTS Neo:6
DTS Neo:6
MODE:Cinema
INPUT SETUP MENU
When DTS Neo:6 is selected as the default
surround mode on the INPUT SETUP menu,
there are additional option settings and pa-
rameters available to optimize the surround
decoding for various types of recordings,
music or movie soundtracks. DTS Neo:6
uses matrix decoding algorithms to derive a
center channel and surround channels from
2-channel source material.
In DTS Neo:6 surround mode, there will only
be one choice available on the sub-menu:
selecting CINEMA or MUSIC modes. Use
the +/– buttons on the remote to change
the settings.
• Select CINEMA to optimize the DTS Neo:6
decoding for movie soundtracks.
• Select MUSIC to optimize the DTS Neo:6
decoding for musical recordings.
When you have completed the setting, high-
light the INPUT SETUP MENU line at the bot-
tom of the screen and press the ENTER but-
ton to return to the INPUT SETUP menu (or
just press the ENTER button).
Configuring
Speakers and Audio
This section of the setup process covers items
concerning audio reproduction such as the
number of speakers, bass management in-
cluding subwoofer crossovers, establishing
equal output levels for all channels, delay
settings, and tone contour settings.
Understanding Speaker Con-
figuration
Home theater systems vary in the number of
speakers and the bass capabilities of those
speakers. The RSX-1057 offers surround modes
tailored to systems with various numbers of
speakers and bass management features which
send bass information to the speaker(s) best
able to handle it – subwoofers and/or large
speakers. For optimum performance, you
must tell the RSX-1057 the number of speak-
ers in your system and how bass should be
distributed among them.
NOTE
: There are two types of bass in a sur-
round system. The first is bass recorded in
each of the main channels (front, center, and
surround). This bass is present in all recordings
and soundtracks. In addition, Dolby Digital
5.1 and DTS 5.1 recordings may have a Low
Frequency Effects (LFE) channel – the .1 chan-
nel. This LFE channel, typically played by a
subwoofer, is used for effects such as explo-
sions or rumble. The use of the LFE channel will
vary from soundtrack to soundtrack. Record-
ings that are not encoded in Dolby Digital or
DTS do not have the LFE channel.
The following configuration instructions refer
to LARGE and SMALL speakers, referring more
to their desired bass configuration than their
physical size. Specifically, use the LARGE set-
ting for speakers that you want to play deep
bass signals. Use the SMALL designation for
speakers that would benefit from having their
bass sent to more capable speakers. The bass
management system redirects bass information
away from all SMALL speakers and sends it to
the LARGE speakers and/or the SUBWOOFER.
It may be useful to think of LARGE as “full-range”
and SMALL as “high-pass filtered.”
Four typical examples of the many possible
system configurations illustrate the principles
behind bass management:
• Five LARGE speakers and sub-
woofer: This system requires no bass
redirection. All five speakers play the
normal bass recorded in their respective
channels. The subwoofer plays only
the LFE channel bass. Depending on the
soundtrack, there may be minimal use of
the LFE channel, so the subwoofer would
be under utilized. Meanwhile the normal
bass places higher demands on the ca-
pabilities of the other speakers and the
amplifiers driving them.
• LARGE front, center, surround
speakers, no subwoofer. The nor-
mal bass from the front, center, and sur-
round channels is played in its respective
speakers. With no subwoofer, the LFE bass
is redirected to all five LARGE speakers.
This places significant demands on these
speakers and their amplifiers, as they must
play their own normal bass plus the very
demanding LFE bass.
• All SMALL speakers and subwoof-
er. The normal bass from all channels is
redirected to the subwoofer, which also
plays the LFE channel. The subwoofer
handles ALL of the bass in the system.
This configuration provides several ben-
efits: deep bass is played by the speaker
most suited to do so, the main speakers
may play louder with less distortion, and
the need for amplifier power is reduced.
This configuration should be used with
bookshelf-size or smaller main speak-
ers. It should also be considered in some
cases with floorstanding front speakers.
This configuration is advantageous when
driving the system with moderate power
amplifiers.
• LARGE front speakers, SMALL cen-
ter and surround speakers, and a
subwoofer. The normal bass from the
SMALL center and surround speakers is re-
directed to the LARGE front speakers and
the subwoofer. The LARGE front speakers
play their own normal bass plus the redi-
rected bass from the SMALL speakers and
LFE bass. The subwoofer plays the LFE bass
plus the redirected bass from all of the oth-
er channels. This might be an appropriate
configuration with a pair of very capable
front speakers driven by a large power
amplifier. A potential disadvantage with
mixed LARGE and SMALL configurations is
that the bass response may not be as con-
sistent from channel to channel as it might
be with the all SMALL configuration.
NOTE
: As an alternative configuration with
a satellite/subwoofer package as the front
speakers, follow the speaker manufacturer’s
instructions, connecting the high-level inputs
of the powered subwoofer directly to the front
speaker outputs of the RSX-1057 and con-
necting the satellites to the subwoofer’s own
crossover. In this arrangement, the speakers
would be classified as LARGE and the sub-
woofer setting would be OFF for all surround
modes. No information is lost during playback
because the system redirects bass informa-
tion to the front LARGE speakers. While this
configuration ensures proper satellite speaker
operation by using the speaker’s own cross-
overs, it has some disadvantages in terms of
system calibration and would generally not
be the preferred configuration.